NLord Dunsung's Pive Plays“ are
# Lady of the Sonnets,“ the playlet may
doubly and triply welcome. Mr. Bjork¬
be said to be overwhelmed by the in¬
man, in his introduction, links the
troductory pages on Shakespeare’s per¬
Irish writer’s method to Maeterlinck’s,
sonality and life, and the identity of
and with good reason; he differentiates
the Dark Lady. Much of this dis¬
between the uses made by.hoth of that
Pcourse is devoted, however, to a dis- method with even greater Justice.
Scussion of Frank Harris’s charge of
Lord Dunsany employs the Belglan's
plagiarism, brought some years ago, in
vagueness of place and time; he has
connection with a play of his own,
vorrowed some of his tricks of dia¬
PShakespearé and His Love'-a storm
logue, but he is far more dirêct for all
in a teapot of which only the faifftest
that, and his appeal ls more immedi¬
mmgenshe#-he r Fannegate-rheen-#t-ceontutn“ gug
First Play“ is still too recent in the gests a Russian production; it fainly
memorg of theatregoers to requirequivers, with atmösphere and meaning.
comment. Suflice it to say that itAnd there are Homerie moments in
agreeably Justifles memories of thef King Argimenes,“ the conquered mon¬
plensures of its stage production.
arch reduced to slavery, who finds a
buried sword and with it regains what
itswas, if memory be not at fault, ihe has lost. The symbolism of The
röughThe Green Cockatoo“ that (Golden Doom“ is perhaps somewhat
hnitzler was first introduced to the obvious, but its theatrical quallty is
can Stage. The theatrical ef-unquestionable. One cares far less for
eness of this tragi-comedy or thel „rhe Glittering Gate,“ which, on paper
h-Revolution is, indeed, far lessgt least, seems ineffective; and better
than that of most of his otherforms have been found for the satire
hich, for their full under- on British conventionality than that of
ing and appreciation, require, if
lways a first-hand knowledge of
The Lost Silk Hat.“ But the first
euna and the Viennese, at least an
three plays suffice to give us the qual¬
rständing ef the modern spirit as
Styrof this neo-Celt, whose imagination
apes thé concéption and the con¬
ranges far beyond the fleld of its cult.
life among the author’s own
Mr. Lawrence½ Widowing of Mrs.
hat understanding is neces¬
Holroyd“ is a somewhat verbose trag¬
tothe appreciation edy of the English black country. Its
yin this volume, study- or character and its varying re¬
erverse exalta- ##ctions to catastrophe are excellent, but
mock- its grewsome third act makes stage
härksproduction improbable. It belongs to
rae What may be loosely termed the “peas¬
ant play,“ of which we have had an
even more grewsome specimen during
thé past thentrical season in The
lack Mask.“ The genre is old, put
since the advent of the Irish Players
id their plays wehave come to accept
as something entirely new.Chance“
elongs to this genre, and, in a way,
Hindle Wakes.“ The Sicilian Playere
gave us à few years ago a glimpse of
its local form in their own island: and
for several years a company of Bava¬
rian Peasant Players has presented a
series of its own dramas in supplé¬
mentary seasons at the Irving Place,
both plays and players being superior
t###ady Gregor#is repertern and or¬
nizetd
that
laces
pref¬
erittcal
an un¬
symbolism
need hardly be
duced by E. H. Soth¬
a Harned in the season
9=190
in a spirit unmistakably
complains Mr. Meltzer—and
dby Mr. Sothern and Miss Mar¬
woFeurs later, with no better
Apart from all the Just strict¬
assed by Mr. Meltzer upon both
ütions, it may well be doubted,
#ter, if che drama is adapted to
American theatre and its patrons.
nägery is rooted in the childhood
eGerman race; it flowers in the
ethe tales the, brothers Grimm
tlis as intensely Germanic
Ethe historie Deutschtum of

#Arthur Jones’s Mary Goes
is an excellent example of the
#of manners—a satire on the
#r# ofithe English middle classes.
as always been the leader of
eset der a manufacturing